CC1 Week 10

Again with ReWiring live with plogue. This time however i actually did use live instead of Project 5. I set up a loop that i created in live. A guitar riff with accompanieing chords.

I mixed both Audio Arts and Creative Computing lectures together. I used ReWire with spectral analysis to create this sound. I may use this in my final performance to create new timbres and to change the key without rerecording the samples again. This is lots of fun and i am totally loving the abilty to control program through Bidule. It makes it so much easier. It is possible that i could use mulitple programs runing through bidule. I could use sample loops in Live, Midi loops in Project 5 and use a sampler instrument in Reason. The Posibilities!!!!!

I was just playing around with the mixer and 1 spectral parameter to create the sounds heard on the mp3.

Here is the mp3
http://h1.ripway.com/loudman/CC1Week10.mp3

References

Haines, Christian. Lecture 10/10/07 "Integrated Setup." Adelaide University.

Beaulieu, Sebastien; Trussart, Vincent; Viens, David 2007, Bidule v0.92 user manual,
Plogue, viewed 11/1 2007, .

Ableton 2006, Live Digidesign Edition Owner's Manual, Ableton, viewed 11/1 2007,
.

AA1 Week 10

I first made a bidule with 5 oscillators in it, and played around with harmonics and other related tones. I played around with the phase offest aswell to create different timbres. Setting up the parameters to play with took the longest. The best thing for this sort of task is to have a MIDI controler for the different parameters, this would be easier and you could explore much more timbres with a physical interface.

From these first 5 oscillators i copied this bidule twice and played with more frequencies and harmonics to create a final hard organ like timbre.

Here is the bidule file
http://h1.ripway.com/loudman/Synthesis.bidule

Here is the mp3
http://h1.ripway.com/loudman/Synthesis.mp3

References:

Haines, Christian. Lecture 9/10/07 "Sound Design." Adelaide University.

p124 - 126. "Spectral Modeling Techniques". Miranda, Eduardo. 1998, Computer Sound
Synthesis for the Electronic Musician, Focal Press.

Reid, Gordon 2000, Synth Secrets - Part 14: An Introduction to Additive Synthesis,
Sound on Sound, viewed 11/2 2006,

CC1 Week 9

This patch was slightly more difficult to understand, it took me a good hour and a half to figure out what was going on with the preferences settings. And it took me a lot of tweaking, it wasn't as easy to set up as originally thought. But once again bidule has surprised me and shown how powerful this piece of software really is.

Instead of using Live i used Cakewalk Project 5, which is a similar sequencing, sampling program that uses ReWire. I had problems using Live with ReWire, plogue wouldn't recognise it as a ReWire application.

In Project 5 I used a bunch of VST instruments with my MIDI keyboard and played some little contrapuntal like melodies with a few different instruments ReWired through a bunch of delays and flange to create the final, psychedelic, trippy sounds.

View the bidule and hear my samples with the Box widget in the top right corner of the screen.

References:

Haines, Christian. Lecture 4/10/07 "Creative Computing." Adelaide University.

Beaulieu, Sebastien; Trussart, Vincent; Viens, David 2007, Bidule v0.92 user manual,
Plogue, viewed 11/1 2007, http://www.plogue.com/.

Ableton 2006, Live Digidesign Edition Owner's Manual, Ableton, viewed 11/1 2007,
http://www.ableton.com/.

AA1 Week 9

I never realized how such a simple concept (used in complex proportions) is used to create all the sounds we hear on synthesisers. This is the bread and butter concepts that I'm very excited about learning. This is certainly something that i will looking into for future projects.

Go to my box widget at the top right of the page to hear the mp3 samples and download the Bidule.

References:

Haines, Christian. Lecture 2/10/07 "FM Synthesis." Adelaide University.

Truax, Barry. 2006, Tutorial for Frequency Modulation Synthesis, viewed 7/7 2006,
http://www.sfu.ca/~truax/fmtut.html.

Miranda, Eduardo. 1998, '3.2 Frequency Modulation', in Computer Sound Synthesis for
the Electronic Musician, Focal Press.

MTF Instrument

This is a demonstration of my instrument.
NOTE: this was recorded before lables were attached.

CC1 Week 8

Live is fantastic, it really makes "live" production accessible to everybody, navigation and basic interaction design is very easy and intuitive. I wouldn't use it to actually finally produce music (not that it was designed for this), however it will definitely be used in the compositional process. Previewing samples and just playing around with ideas.

For this exercise i used samples that i created about a year ago when i started playing around with break beats. I then cut them up and transposed them into Live and played around. I created variations of the original ideas i had at the beginning. However since i only had 5 samples (that worked with the others), my choices and variations were limited.

Go to the Mybox widget and dl the respective file.

References:

Haines, Christian. Lecture "Live (2)." 12/9/07 Adelaide University.

"Arrangment View, "Clip View", "Tempo Control and Warping". Ableton 2006, Live
Digidesign Edition Owner's Manual, Ableton, viewed 11/1 2007,
.

AA1 Week 8

Playing with the amplitude input of an oscillator was an interesting study of the physics of sound. Hearing the harmonic relationships between the fluctuating amplitude and the carrier frequency is an interesting exercise. After applying a filter it still didn't create much of a difference in timbre. I haven't been very successfull in creating many interesting sounds. However is has been an interesting exercise in the physics of sound.

The files for this exercise can be found in MyBox Widget at the top right of the page. Go to the respective Folder and Week number.

Here is the Mp3
http://www.box.net/shared/vmlpysyigh

Here is the bidule file
http://www.box.net/shared/zp5tc6rz0f

References:

Haines, Christian. Lecture 11/9/07 "AM and RM Synthesis." Adelaide University.

"Chapter 3 - Loose Modeling Techniques". Miranda, Eduardo. 1998, Computer Sound
Synthesis for the Electronic Musician, Focal Press.

Reid, Gordon 2000, Synth Secrets - Part 11: Amplitude Modulation, Sound on Sound,
viewed 11/2 2006,
http://www.soundonsound.com/sos/mar00/articles/synthsecrets.htm.